Tribe Issue 4

2009

tribeINTERNATIONAL CREATIVE ARTS MAGAZINE

ISSUE 4

2

Kirsty Ashford

anglesinflight.deviantart.com

3

3

4 TRIBE MAGAZINE ISSUE 4

EDITOR IN CHIEF

Mark Doyle

EDITOR

Ali Donkin

ASSOCIATE EDITOR

Tilly Craig

EDITORIAL DIRECTOR

Pete Davey

CLIENT DIRECTOR

Jean Camp

MARKETING DIRECTOR

Steve Clement-‐Large

RESEARCH

Hannah Doyle

COVER

Rosalind Chad

ART

Bex Edwards, Abigail Forster

PHOTOGRAPHY

Mark Doyle [except where noted]

CONTRIBUTORS

Glyn Davies, Rosalind Chad, Jelle Van Hulle, Kirsty

Ashford, Jamie House, Caitlin Karolczak, Michael

Buckland, Carlos Ezquerra, Chris Kelley, John Scarratt,

Stephanie Bunt, Abigail Forster, Dawn Sims, Dora

Alden

CONTACT

To submit work: [email protected]

To say hello: [email protected]

Full submission details can be found on our website:

www.tribemagazine.org/contact.html

Artists have given permission for their work to be

displayed in tribe magazine. No part of this magazine

may be reproduced without the permission of the

copyright holder(s)

tribe magazine is produced in Plymouth, UK by

Trico Creative CIC, company no 7982933

tribe

tribe is a submissions driven visual creative arts magazine. We

welcome contributions from all over the UK and the world, and our

aims are to showcase the very best in visual creative arts each month.

If you are a creative and would like to send you work to us (either art or

an article you have written) please send it to: [email protected]

WELCOME

This month it has been my pleasure to become part of the tribe

team. The past couple of weeks have been full of meaty

conversations which have kept my mind buzzing long after the end of

our meetings and a constant stream of original and thought

provoking ideas springing from every member of the team. In short,

after having spent only a small amount of time with everyone here at

tribe I have no doubt that we will be producing work which

continually provides something innovative and fully explores our

online format for a long time to come.

Talking of innovation, tribe:write, which will provide a platform for

creative writers to show their work in a completely fresh format, also

welcomes a new editor, Tilly Craig, whose passion and expertise will

see that tribe:write will be unique. Getting recognised and published

can be arduous, but we hope that tribe:write will help make that

processes a lot easier by creating a place for writers to take their

work on to that 'next step' on the journey to publication. The beauty

of tribe is that the team have managed to introduce so many ways for

creatives to show you their work. Not only will tribe:write give the

opportunity for writers to show their work but it also provides a stage

for illustrators too. The future of tribe holds many new avenues for us

to work with and promote the talents of up and coming illustrators.

One such opportunity can be seen on the opposite page. Each month

we would like to give over our contents page to an illustrator so that

they can show our readers their distinct style and imagination. So

come on illustrators -‐ show the world what you can do!

Ali Donkin, Editor

ISSUE 4 MAY 2012

mailto:[email protected]




http://www.tribemaga

http://www.tribemaga



ISSUE 4 TRIBE MAGAZINE 5



Phrases & Philosophies For The Use Of The Young


The Country Doctor


Momento Mori I



Res Ipsa Loquitur (The Thing Speaks For Itself)

12 TRIBE MAGAZINE ISSUE 4Emanation

ISSUE 4 TRIBE MAGAZINE 13Le Bourreau



Hedone


Evado


The Martyrdom Of Saint Agatha

Caitlin Karolczak

studiosilenti.com



CARLOS EZQUERRA

Carlos Ezquerra is a legend. Co-‐creator of Judge Dredd and Strontium

Dog, his work has a huge cult following across the world. His art has been

a massive influence on modern comic book art and graphic novels. He

took time out of his busy schedule to talk to TRIBE.

How have things in the comic/graphic

novel industry changed over the course

of your career? Have things changed

for the better or worse?

Some things have changed for better,

but in general I think for worse -‐ young

people don't read comics like before as

they are more into video games, so

comics don't sell in the numbers they

used to.

You are partly responsible (along with

John Wagner) for creating two of the

most iconic characters in British comic

book history: Strontium Dog and Judge

Dredd. Has it been hard, over the time

you have been involved in with those

characters, to maintain the standards

expected from the fans? What process

do you go through when creating a

new story/strip?

It hasn't been hard because those

characters are like part of us, so they

came out quite naturally. When I am

with a new story I try to imagine it like

a film, trying to match the look of the

characters with the way they move and

act, trying to be true to the idea that

the face is the mirror of the soul.



How do you feel about Dredd as a

character? Both Dredd and Strontium

Dog strips have strong political

undertones -‐ Dredd about state control

and Strontium Dog about alienation

and discrimination. What social

themes, if any, were you aiming to

bring out through these characters?

Those were the aims when we started;

remember both characters were

created in the late 1970’s. Margaret

Thatcher was in power and it was the

time when real state control was

starting. Now we are near the world of

Dredd which we never dream in those

days. Nowadays even the riot police

look as menacing as the judges, or

even more! As for the Strontium Dog,

what can I say? Discrimination is a

close part of human nature; sometimes

it is skin color, religion, sexuality,

languages, anything that is different

can be considered ‘a menace’.

There is a new Dredd film out later this

year. Were you nervous about Dredd

being portrayed again on film?

Not at all, I never knew it was going to

be a film until I read it in the press!





Why do you think the Dredd strip still

holds such an appeal in 2012?

I suppose for some people it is a satire

about real life, but I think mainly

because the scripts and the artwork

are so good. John Wagner has been the

creator of a character larger than life,

and during all this years he changed

Dredd from being a two dimensional

character to a more complex one,

almost human being or as human as

Dredd can be, naturally. John is a

extraordinary writer and the fact he's

been doing most of the scripts ever

since Dredd first appeared makes the

story unique and a complete universe.

Comics have always been an area of

art that has traditionally been seen as

frivolous and of low cultural value by

many literary critics. Are comics still

relevant?

Comics still are seen as of a low

cultural value, even if the film industry

constantly plunder them for new

characters and creations. In general

they still consider the comics’ creators

as second or third rate, just good

enough to use their creations, and not

always used well.


How does it feel to have contributed so

much to the success of 2000AD?

I think all the artists who worked for

2000AD have contributed to the look

of it.

What are working on currently? Are

there any new projects on the horizon?

I’m just finishing a story of Durham

Red, the vampire girl from Strontium

Dog, with Alan Grant. Also the third

part of Tankies, a war story with Garth

Ennis, and I'll start soon another part

of the Life and Death of Johnny Alpha,

with John Wagner.



Jelle van Hulle is a Belgian video

armst. He received his masters from

Sint Lukas Brussels. His art pracmce

currently involves the use of mixed

media, video smlls and short films

that have been selected for several

European art galleries and fesmvals,

including the internamonal film

fesmval Gent, Brussels and Annecy.

Jelle’s work is always a search for the

possibilimes of modern graphic

techniques.




He produces series of these works and

the end results are video footage,

digital photographs and/or inkjet

prints; the armst breaks and replaces

serial based works with uniqueness

and originality, that is irreproducible.

By working with delicate material:

used paper, old fabrics, collages and

glue, with spots and errors, he

explores the limits of prinmng and

printmaking. This results in an armsmc

texture that quesmons the usefulness

of perfect pictorials in today’s digital

world.

jellevanhulle.be









MIchael Buckland

[email protected]





Kirsty Ashford

anglesinflight.deviantart.com


Jamie House

Stranger: MemoriesThis project is a result of me producing images of other people’s

memories that I have mined from the internet on various social media

sites. These people have befriended me online but are not people I

have met in person.

Each image is produced by a long exposure focused on a computer

screen while browsing a stranger’s social media images he or she has

posted on their Flickr and Facebook accounts. The resulmng images are

digital landscapes of people and their memories.

I have access to people’s memories, vacamons and celebramons which I

record in one single-‐image; a portrait of someone I do not know.

The resulmng images are layers of images and mme within someone’s

life. This project invesmgates how we disseminate and share images in

the public domain and makes us consider issues of representamon and

privacy.

This series also invesmgates what happens to people’s online

memories when someone dies. What are the implicamons of us

making all our informamon available online? Social media is currently

popular but what happens if this ceases to be the case: what happens

to our memories and who will have access to them?

jamiehousephotography.co.uk

















Dawn Louise Sims

sunriseart.co.uk






Dora Alden

wix.com/doralden/doranne-‐alden


THE LEOPARD PRINT SET

Plymouth based designer

Stephanie Demelza B

showcases her latest

designs


DESIGNER: STEPHANIE DEMELZA B FASHION

MODELS: BETH COLQUHOUN, SKY WEEKES

STYLIST: SALLY BURNE

ACCESSORIES: SUNDAE GIRL

PHOTOGRAPHY: MARK DOYLE

LOCATION: WHITE RABBIT, PLYMOUTH










STEPHANIE DEMELZA B QUICK INTERVIEW

How did you get started in fashion?

I think my interest into fashion started when I was about 15. Being heavily influenced by rock music and alternative fashions I wanted to make myself outfit’s that nobody

else was wearing and that couldn’t be bought in the shops. I remember the first item of clothing I made was a patchwork denim skirt. It was actually a really ugly skirt but

when wearing it I got loads of compliments that inspired me to make and accessories more outfits.

Your work is clearly influenced by 1940's and 1950's fashion. Why is this era so fascinating for you as

a designer?

My designs are very much inspired by music, alternative fashion and the idea of fantasy and fairy tales. For my very first collection I was inspired by the Japanese

Lolita fashion and created girlie dresses that were very theatrical. Then for my next collection I researched into Science Fiction architecture, my designs were abstract and

high fashion. Since then I have been working on a Gothic Glamour collection as well as commercial clothing for my shop.

Can you describe the way you work? How do you take your ideas for an outfit and make it real?

What is the process?

When designing a collection I tend to think of a theme, and then create a scrapbook of mood boards, sketches, fabric samples and inspiration.

Sometimes the fabric alone inspires me but I get better results when I take my time

and research the subject. I start sketching ideas, which then escalate in to bigger and more enhanced ideas. I research in to fabrics and pattern cutting techniques to add

shape and distinctive details.


Is fashion capable of making an impact and meaningful artistic statement?

Of course! All fashion designers strive to be different and to make something that’s unique and that will stand out. Fashion is a different way of expressing creativity by

producing wearable art.

How would you define the style your line exemplifies?

There are two styles to my fashion brand. There is my younger alternative side that wants to make fun, cutesy dresses infused with prints, ruffles and lots of lace! Then

there are my mature designs, which have a sexy, high fashion feel. It all depends on what is inspiring me at the time.

What are you currently working on? What can we see from you in the near future?

I am currently working on private commissions as well as a new collection that will be

sold through my shop. Can’t say what you’ll be seeing from me in the future. I have so many ideas I’m not even sure where to start, so that will have to be a surprise for

everyone including myself!

If you could collaborate with another creative on a clothing line, what and who would it be? What

would the finished piece look like?

Well I have actually been talking with a talented fine artist and an awesome graffiti

artist about collaborating. I don’t want to say too much but the concept of combining graffiti prints in to a collection could look awesome! <

stephaniedemelzab.bigcartel.comstephaniedemelzab.blogspot.co.uk



John Scarratt

johnscarratt.co.uk

78 TRIBE MAGAZINE ISSUE 4 Bex Edwards


Lo-Res Revolution

glyn davies gets pixel-elated

Digital art in the modern era has much to recommend it. There is a

bewildering range of graphical and artistic tools available for home PCs,

often as freeware, which allows even talentless laymen such as myself to

create something approaching “art”. Whatever your creative discipline,

there is a computer program or app which will, depending on your point of

view, either enhance your natural ability or cover up your complete lack of

talent. Some modern painting programs allow for a range of painting styles,

and will even simulate textures and physical brush-‐strokes for that added

note of realism. Even David Hockney uses an iPad these days, for god’s sake.

>

pic:

Jud

e Bu

ffum


Computer graphics have long passed the point of photorealism, so much so

that they can now be inserted seamlessly into movies without having to

explain the third-‐rate CGI by setting whole thing in some Tron-‐like neon

dystopia. In the past, CGI has succeeded only in dating a film to a specific

point in time, whereas more ‘organic’ special effects, such as those used in

films like Close Encounters or the original Star Wars trilogy, seem to have

held up quite well over the years. In their day, these were real “how did they

do that?” moments, and still look impressive some thirty-‐five years on.

George Lucas might have thought he was being terribly clever and oh-‐so-‐

cutting edge when he employed CGI extensively in his trio of Star Wars

prequels a decade or so ago, but even before they were a few years old, CGI

technology had advanced to such an extent that Lucas’ effects looked little

better than you’d expect to find in a fairly run-‐of-‐the-‐mill videogame.

Indeed, modern movies are looking more and more like videogames, while

videogames themselves have long looked like movies. This is how far the

lines have blurred between the two, and goes some way to explaining the

number of blockbuster films that are now based on popular videogames,

when in years gone by, it used to be the other way around. As for CGI in

movies, it no longer impresses us the way it used to; these days we just

accept it as a normal part of the movie experience, if we notice it at all. We

know how they did it, and we no longer care. As the years pass, popular

culture is defined more and more by the march of technology and,

eventually, finds itself creatively neutered by it. Yes, in many ways

technology is great. It allows us to do some quite staggering things relatively

cheaply that twenty or even ten years ago were beyond our technical or

financial ability. But so what? >


Sometimes, in order to stay in touch with our own natural abilities, we need

to get back to basics. The Luddites understood that. Just because a machine

can do the work of ten people, that’s not necessarily a reason to install it and

make nine people jobless and destitute as a result. Which is where the

enduring popularity of pixel art comes in. For the past fifteen or twenty

years, a new wave of technological Luddism has been worming its way into

the consciousness of a public that has been completely seduced by

technology.

Pixel art, and in particular 8-‐bit pixel art, celebrates the limited graphic

capabilities of older computers, especially those that ruled the 1980s. It

might be created directly on said old computers or it might just be made to

look like it has been. Speaking personally, I much prefer the former – new

art created on old technology has added authenticity, and it takes a certain

determination to create something within such strict parameters. Creating a

brand new piece of art using an ancient Commodore 64 and a copy of OCP

Art Studio is definitely hardcore in my book. But that’s just me. The reality is

that 8-‐bit art has moved far beyond the simple, vibrant, blocky computer

graphics that inspired it. Today, it can take in considerably more ancient (or

‘retro’, if you’d rather) artforms such as sculpture, embroidery or mosaic,

which in particular lends itself perfectly to the comparatively low-‐resolution

images that this archaic technology produces.

So what’s the appeal?

Nostalgia obviously plays a huge part. The pixel art scene runs in tandem

with other 8-‐bit inspired movements, such as the retrogaming or chiptune

scenes. Retrogaming is self-‐explanatory. There has long been a huge market

for old-‐school videogames, either on their original platforms – physically, or

emulated on a modern PC or console -‐ or through updated versions on

modern platforms, and in particular mobile phones. >


Chiptunes, very simply, involve musicians creating new pieces of music with

old computers, or at least incorporating these old computer sounds into new

pieces of work. The Commodore 64, which for its time had a very advanced

sound chip that was basically a mini-‐synthesizer, and which had a sound all

of its own, not to mention of its era, is particularly popular in the chiptune

scene.

The popular 8-‐bit machines of the 1980s, such as the ZX Spectrum and

Commodore 64, still have a devoted army of adherents who delight in

pushing these ancient computers to their absolute limits in terms of graphics

and sound, which they show in the form of ‘demos’, which are often quite

impressive (given the technology used) audio-‐visual programs which run on

the original hardware itself or an emulated version of it on a PC or Mac. The

‘demoscene’, as it has become known, has existed for almost as long as

home computers. But it was popularised in the late 1980s by the emergence

of 16-‐bit machines such as the Commodore Amiga, on which talented teams

of amateur programmers, graphic artists and musicians would produce

demos with the sole purpose of showing off the abilities of both computer

and coders. This in turn led to a small retrograde demoscene using less

powerful hardware, which, like the Amiga scene, also still exists to this day.

So, nostalgia aside, what of the aesthetic qualities of 8-‐bit graphics? On the

face of it, they don’t seem to have a great deal going for them: blocky, low-‐

resolution images, often indistinctly defined and hampered by a limited

palette and very little in the way of texture or shading. Yet, at the height of

the 8-‐bit machines, graphic artists managed to perform a range of minor

miracles on these machines, as one look at a loading screen designed by

David Thorpe or Bob Stevenson will confirm. Often, limited technology

inspires such ingenuity. >


When 8-‐bit computers were succeeded by 16-‐bit in the late 1980s, it took

the new generation a while to find its feet. Spoilt by what seems like

unparalleled graphical capability, games developers initially neglected to add

anything more in the way of actual gameplay, something that has continued

through each successive generation of computer technology: the product

looks better, but all too often, it isn’t.

This is why gamers of a certain age look on the 8-‐bit days so fondly, and why

the era continues to be mythologized. The real classics from that era, that

select group of 8-‐bit games that hold up well even today, were good because

they had to be, because programmers didn’t have anything approaching the

bells and whistles today’s technology gives them, including the ability to

conceal a multitude of sins behind impressive graphics. There was dross in

the 8-‐bit days too, of course, and plenty of it. But most of the bad games

sunk without a trace and were forgotten almost immediately. As is so often

the case with nostalgia, it is only the good things about a given era that

remain preserved in the mind – and indeed in culture as a whole -‐ for

posterity.

Despite its obvious limitations, the 8-‐bit graphics style does have a certain

charm, especially in the hands of an able designer. 8-‐bit graphics tend to be

associated with solid, vibrant shapes, bold primary colours and above all,

simplicity. And it would be fair to say that some of these simple forms have

proven to be little more than iconic. Even in the 1980s, non-‐videogamers

could recognize the outline of a Space Invader or Pac-‐Man, say, and know

what it was. And, of course, there is the podgy Italian plumber who became

the instantly recognizable mascot of a certain Japanese videogame

corporation. It’s with familiar images such as these, along with many, many

others, that computer graphics begin to enter the noisy environs of pop art.

>


Indeed, the 8-‐bit style lends itself perfectly to pop art. It is visually striking,

sometimes bordering on the kitsch, as well as being immediately accessible

and familiar enough culturally to survive the translation from computer

screen to more tangible, “physical” media. As a distinct art style in itself, it

also appears to be able to survive any contextual cauldron the artist cares to

throw it into. 8-‐bit inspired imagery has found itself in a variety of media,

from television to t-‐shirts, and everything else in between.

This isn’t a new phenomenon either. Thirty years ago, the computer graphics

of the era were often used to signify something “futuristic” or the relentless

march of technology. Today, those same graphics, or representations of

them, are used knowingly and affectionately, a nostalgic nod to a time when

almost everything electronic we interact with todaywould have been pure

science fiction, bordering on witchcraft. They are also still used, bizarrely, to

represent generic “computer graphics”, as if modern computer graphics are

just too good to be believable. There seems to be something lodged in our

minds that computer graphics are, and always have been, garish and blocky,

and we’re damned if the all the overwhelming modern evidence to the

contrary is going to convince us otherwise.

In the intervening years, pixel art has emerged as a genuine and very popular

art style, as well-‐attended exhibitions, particularly in the United States, have

demonstrated. It’s not hard to see why: it’s eye-‐catching, bright and

colourful, accessible and always pertinent to popular culture. Pixel art is

rapidly becoming a very crowded playing field but some genuinely talented

artists have managed to rise above the throng. Jude Buffum stands out as

my particular favourite pixel artist at the moment. >


His work not only demonstrates a wry, satirical wit, but also a real knowledge

and understanding of 8-‐bit videogame culture, performing a slick balancing

act between romantic nostalgia and cultural commentary, which is

something a lot of pixel artists don’t really attempt – too many of them are

concerned with trying to be “ironic”, which to me seems to be missing the

point somewhat.

Far from being ironic, pixel art arguably occupies its own little bubble outside

irony. It is fuelled partly by nostalgia and partly by an artistic reaction to

what is perceived to be the uniform blandness of modern computer

graphics, however realistic they may look. But most importantly, it is – as

perhaps it has always been, even in its 8-‐bit infancy – a very genuine and

exciting form of artistic expression. <

You can see more of Jude Buffum’s marvellous work at judebuffum.com

pic:

Jud

e Bu

ffum


These Polaroid Painmngs are created using the chemicals inside of the Polaroid film. The chemicals begin

developing the second they are squirted up from the white frame and constantly interact and change over

the course of months. The pictures are aging, accident, mme, sex, technology, history, nostalgia, dissonance,

Rorshach, the female body, objectness, chance, horses, loss and a couple of other things.

Chris Kelleyfacebook.com/chriskelleyart







MIchael Buckland

[email protected]





VISUAL PROVOCATEURPlymouth based photographer, designer

and stylist Rosalind Chad talks to tribe

about her varied work and career.



Tell us the story behind the cover image of this issue of tribe and how that came about

Its a collaboramon with Alien Fox designs for the SenQent Project; this shoot was enmtled The Bird. The designer,

Foxy, specialises in custom adornments that are oven influenced by animals and tribal culture. The premise of

the project was based in the distant future and explored the idea of what the Earth would be like in a million

years mme. If human beings, arguably the only self-‐aware beings on this planet, were to change and we were

wiped out, there would be an evolumonary gap at the top of the food chain.


The senment beings are the animals that would evolve to take our place; The first being is the huge plumed

bird-‐like creature -‐ dismnctly bipedal, beaumfully coloured and nimble. We worked with the model James

Francis to reflect a proud and noble creature. As a photographer I wanted to bring an otherworldly quality to

the images, using gels and hard lighmng I was able to set of the luxuriant textures and the myriad colours of the

headdress and shoulder piece to full effect. James pracmces marmal arts, so he is naturally very flexible and

disciplined with his body – under our direcmon he brought the strength and prowess of the SenQent Bird to life

vividly.




What are you currently working on?

I am currently working on a set of images exploring the idea of androgyny. I have three shoots for this project and I have

completed two so far. Society’s boundaries are in state of flux, traditional masculine and feminine boundaries are blurred

and this has been increasingly reflected in gender crossing fashion. During the first Androgyny shoot I drew heavily on the

concept of the dandy, the archetypal devotee to dress, and a term that is increasingly applied to both sexes. The styling

was all about the attention to detail, refinement and eccentricity. I worked with the model to try to produce images that

reflect an intellectual and nonchalant demeanour so central to the cult of dandyism. Charles Baudelaire defined the dandy

as one who elevates aesthetics to a living religion, and as a photographer this is something I can certainly identify with.

So its following on in a way from the 1920’s aesthetic of women wearing trouser suits and dressing in very male attire?

Yes, very much so. Strongly tailored and structured clothing has a wonderful sculptural quality that enhances the physique

of the wearer, whereas much of the clothing generally available seems reliant on the physical form of the wearer,

especially in women’s fashion where many designs diminish rather than flatter the average wearer.

I have long been interested in the power of clothing in determining our perception of each other, its ability to send

messages, hide and reveal, highlight and obscure. In the Androgyny Project I was aiming to explore the subtle ambiguity

and delicate confusion that androgynous clothing can engender in the viewer. I chose highly structured garments with a

strong emphasis on tailoring and detail. A sharp suit symbolises power, conformity, hard work and professional conduct

and is essentially masculine. It is often referred to as the battledress of the business man. With its instantly recognisable

sillhouette and credentials it was the perfect garment for my exploration of gender. I am fascinated by its subversive power.

What you wear effects how you think and perform and this phenomenon is referred to as enclothed cognition; it’s

fascinating to see how the clothing can instantly affect the demeanour of the models I work with. In this series of shoots as

well as styling them I am also researching and observing the differences in body positioning, demeanour, poise and gesture

between men and women. Through a combination of my observations, their application and the styling of the shoots so far

I have aimed to produce images that would not be gender defined, that would throw different signals to the viewer leaving

them guessing. I think androgyny makes us question our sexuality and identity. The fashion industry is captivated by the

androgynous and as a photographer I can understand why, when you photograph people you are often restricted by

gender conventions. When you throw these ideas out it allows you to work in a much freer and more creative way, I don’t

think you necessarily realise how influenced you are by convention until you question the things you take for granted. It’s

been a liberating and rewarding creative process.




Photography is often a collaborative creative process -‐ how did you collaborate on these projects?

I originally developed the concept of the Androgyny project in collaboration with Jonathan Habens, who was also the

model for the first shoot. Jon had been studying the concept of Androgyny for his dissertation for the final year of his

illustration degree. Strong influences we discussed and researched included Annie Lennox, Tilda Swinton, and the model

Andrej Pejic. Jon had captivating epicene looks that were the catalyst for the whole project.

The casting for the second Androgyny shoot was vital to it’s success, I was looking for a enigmatic female model with

boyish charm, and Maddison Jett with her lanky physique, cropped hair and strongly defined features matched the image

in my head perfectly. Both models had such great enthusiasm and commitment to the project. Maddison sourced the

beautiful suits you see her wearing from a local company the Fitzwell Collection in Barnstaple and John will be using his

skill as an illustrator for the final instalment of the Androgyny project which will play with the concept of Masquerade.

Empowerment seems a key theme of your work.

Yes! As well my personal projects and commissions I also offer Get Gorgeous photo shoots which are available through the

Visual Provocateur website and are held at The White Room studio. They are aimed at women who would like to benefit

from a confidence building experience, or would just like some great images for posterity. I photograph and style the

shoots and work with a professional creative team of make-‐up artists and hair stylists. I work closely with my clients to

make them feel at ease and so they can enjoy the experience of being thoroughly pampered and preened. I guide them

through how to pose effectively for their shape using lighting set ups that sculpt and enhance the body. My aim is for you

to leave the studio feeling beautiful with a set of inspirational photo’s to prove it. I know from experience that just as bad

images can really knock you confidence and in some cases lead to a distorted self image, a set of great images can

empower, enhance self esteem and boost your confidence immeasurably.

You’ve also been working with sculptor Philip Wakeham on a rather interesting concept...

We will be putting our heads together in the next couple of weeks and working on stage one of an exciting new concept

named the Trinity Project. The ethos of the project is to inspire a spirit of collaboration, a synergy that intends to reveal

how the pooling of creative talent and resources can produce work that emerges as greater than the sum of it's parts! We

are currently looking for a clothing designer to complete the trinity! <

CREDITS

Sentient -‐ The Bird: Headress, body paint and styling Alien Fox Designs, Model: James Francis

Androgyny Project: Photography, styling and make up Rosalind Chad, Models: Jonathan Habens, Maddison Jett

Clothing provided by Fitzwell Collection, Barnstaple

visualprovocateur.com

thewhiteroomstudio.com


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Documents

Tribe Issue 4